Taking Lessons from Silent Spring: Using Environmental Literature for Climate Change

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Taking Lessons from Silent Spring: Using Environmental Literature for Climate Change Article Taking Lessons from Silent Spring: Using Environmental Literature for Climate Change Craig A. Meyer Department of Language and Literature, Texas A&M University-Kingsville, Kingsville, TX 78363, USA; [email protected] Abstract: Rachel Carson’s Silent Spring (1962) created a new genre termed “science nonfiction literature.” This genre blended environmental science and narrative while ushering in a new era of awareness and interest for both. With the contemporary climate crisis becoming more dire, this article returns to Carson’s work for insight into ways to engage deniers of climate change and methods to propel action. Further, it investigates and evaluates the writing within Silent Spring by considering its past in our present. Using the corporate reception of Carson’s book as reference, this article also examines ways climate change opponents create misunderstandings and inappropriately deceive and misdirect the public. Through this analysis, connections are made that connect literature, science, and public engagement, which can engender a broader, more comprehensive awareness of the importance of environmental literature as a medium for climate awareness progress. Keywords: Rachel Carson; Silent Spring; science; nonfiction; narrative; environment; climate change No witchcraft, no enemy action had silenced the rebirth of new life in this stricken Citation: Meyer, Craig A. 2021. world. The people had done it to themselves. Rachel Carson(1962, p. 3) Taking Lessons from Silent Spring: 1. Introduction Using Environmental Literature for Climate Change. Literature 1: 2–13. In 1958, Olga Owens Huckins wrote a letter to the Boston Herald, which described https://doi.org/10.3390/literature recent aerial sprayings of DDT near her home; she writes, 1010002 The “harmless” shower-bath killed seven of our lovely songbirds outright. We picked up three dead bodies the next morning right by the door. They were birds Academic Editor: Lauri Scheyer that had lived close to us, trusted us, and built their nests in our trees year after year. The next day they were scattered around the birdbath [ ... ]. All of these Received: 6 May 2021 Accepted: 20 July 2021 birds died horribly and in the same way. (qtd. in Williams 2007, “The Moral Published: 29 July 2021 Courage of Rachel Carson”, pp. 135–36) Shortly thereafter, she wrote another letter to her friend Rachel Carson desperately Publisher’s Note: MDPI stays neutral informing her of the event and the dangers of pesticides. Huckins asked Carson if she could with regard to jurisdictional claims in write something about chemical spraying and its harm on wildlife. What Carson wrote published maps and institutional affil- started a new genre of literature and started an environmental movement. As the sixty-year iations. anniversary of Rachel Carson’s Silent Spring nears in 2022, her text remains important as we consider the lasting effects of the 2010 BP oil spill in the Gulf of Mexico, the now- annual devastating major hurricanes and wildfires, the ramifications of oil pipelines, and the push for green alternatives for everything from automobiles to the electrical grid. Copyright: © 2021 by the author. Although Carson’s work focuses on chemicals and pesticides, many readers can connect Licensee MDPI, Basel, Switzerland. and recognize the larger meaning of how humans interact and even misuse and abuse This article is an open access article the environment. With this then-new genre, Carson sought to awaken governments, distributed under the terms and companies, and people who blindly believed nothing was happening to damage the world conditions of the Creative Commons that we live in. Looking back across these sixty years, we come to realize that the realities Attribution (CC BY) license (https:// are mostly the same; yet, we can consider Carson’s work more critically now and take creativecommons.org/licenses/by/ some lessons from it. 4.0/). Literature 2021, 1, 2–13. https://doi.org/10.3390/literature1010002 https://www.mdpi.com/journal/literature Literature 2021, 1 3 Literature is part of our historical footprint for future societies and cultures to learn from so they can better understand how we were part of our world in our time. We have seen texts change a culture’s thinking. One well-known example is Harriet Beecher Stowe’s Uncle Tom’s Cabin, which was rumored to be the book that started the American Civil War. Other authors such as Henry David Thoreau, Amy Tan, Plato, Upton Sinclair, Toni Morrison, George Orwell, Gabriel García Márquez, Jane Austen, and Frederick Douglass have shaped how we think and operate in the world, forced us to confront ugly realities, offered us hope about each other, and cautioned us about frightful futures. Carson added her name to this list with Silent Spring. This article considers Carson’s Silent Spring on several levels. First, Carson’s narrative style is investigated along with what others claim she uses. This new genre of literature that blended science, literature, and narrative to create an informed readership was proven effective because of Carson’s credibility and experience. With Carson as guide, readers could act with new knowledge of the dangers of pesticides and other chemicals. They would learn about the science and then understand it through the narrative. It was Carson’s hope that public and political pressure would create new laws, regulations, and protections, and this goal was partly realized. Second, the timing of Silent Spring provides insight into the need for this new genre as well as its effectiveness for that time period. The period provided ample opportunity to generate a range of emotions, but Carson focused on providing readers the facts, which leads to the third section. Carson needed to be certain her research was accurate and accessible to layperson readers. She recognized the influence of the large, powerful companies and corporations that were producing and selling these deadly chemical poisons and how they would respond to the truth being made available to the public. The latter parts of the article focus on the use of emotional appeals by Carson and in relation to the climate change discussion. While Carson suggested a solution of radiation, offered in the last chapter, she provided it while not knowing its outcomes and relying on the hopes and fears of readers, which seems uncharacteristic in relation to the rest of her work. Finally, this article focuses on that hope in relation to where we are presently in the environmental/climate change “debate” and some of the serious concerns of how strong, well-researched texts such as Carson’s serve as insight moving forward. In doing so, the conclusion points to the ways science and the idea of fairness have been distorted at the expense of progress and possibly saving lives. In the end, the realization becomes clear: the human race will either begin to right the wrongs we have done to the planet, or we will continue to make haphazard, feeble, and inadequate attempts to do so, which will ultimately and slowly make the planet inhospitable for life—human life. Books such as Carson’s, that is, well researched and narrative driven, offer a way to communicate effectively to the public in order to drive meaningful action on the climate crisis. 2. A Literary Genre for Its Time Like Truman Capote’s In Cold Blood, Silent Spring created its own genre, which might be termed “science nonfiction literature” (Killingsworth and Palmer 2000, p. 175). This science nonfiction literature of hers follows some tenets of fiction writing and storytelling, but also the logical reporting of data common in scientific writings. Even though Carson titles her opening chapter “A Fable for Tomorrow”, she prepares readers, to some degree, for a fictionalized but realistic tale. Conservationist, activist, and author Terry Tempest Williams refers to her work as “storytelling” (Williams 2008, “One Patriot”, p. 18). In fact, some writers have likened Carson to the Romantics (Lytle 2007, p. 134). Although not as idealistic as some Romantics, she does take another route to understanding through emotional appeal and child-like wonder; however, she turns this quickly as chapters progress to a litany of reports about the use of deadly chemicals, pesticides, and toxins. Considering her text deeper, Carol B. Gartner, a biographer of Carson, explains that Carson created a blend of “science and literary art so seamless that the effect is seductive” (Gartner 2000, p. 103). The scale of seduction derives from the science and the fictional imprints, which are balanced by the amount of real data gleaned from hundreds of sources Literature 2021, 1 4 (not unlike what the realities of climate science tells us). Carson’s story becomes more evident with her continual “use of recurrent themes, motifs, and images” that are mainstays in fiction writing (Gartner 2000, p. 104). Carson, who had already established herself as a best-selling author with her earlier works, understood the dynamics of telling a story and the “poetic technique” behind combining complex material with realistic scenarios (Gartner 2000, p. 105). The knowledge of storytelling was certainly in her arsenal since she studied literature at Pennsylvania College for Women and underwent a “struggle to decide whether or not to change her major from English to biology” (McCay 1993, p. 5). Obviously, she chose the latter but maintained the usefulness and proficiency of the former. Carson also presents her text relative to the events of the period and the growing realization of oft little studied or understood chemicals that were being introduced to our communities (and still are). The timing of Silent Spring certainly was on target, because we see the waves of change that it helped usher in, such as a governmental review of pesticide usage and her last public appearance for testimony at one of President John F.
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